Very often, footage that you have shot develops its own dynamic, it's own life, that is totally unexpected, and moves away from you're original intentions. And you have to acknowledge, yes, there is a child growing and developing and moving in a direction that isn't expected-accept it as it is and let it develop its own life.

I do other sorts of things. I act in other people's movies. I direct operas. I write books.

[This kind of strange mythology about me.] I've pulled a huge steamboat over a mountain; I've done a feature film with all the actors acting under hypnosis - things that are very unusual.

There is a fascination about crime, which is understandable, but hardly anyone talks about the families of victims of violent crime and the devastation that is beyond the victim alone.

When you look at the paintings at Chauvet Cave, they're not primitive or like children's little scribbles, it bursts on the scene fully accomplished and when you look through the faces of cultural history, art history, it has never gotten any better.

It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or filmmaking is all about... and it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.

We have volcanoes also in our immediate neighborhood. I wish we didn't have to travel that far. Probably the kind of magnitude and awesome raw power of them is very fascinating, and of course it's very cinematic.